Britten for children

Britten for childrena guide to Benjamin Britten’s works for children and young performers

Introduction

Difficulty rating

A graded system has been devised to indicate the relative difficulties of performing each piece:

Very easy. The writing is mostly in unison and within a limited range1

Easy. There are a few instances of harmony or extended instrumental ranges2

Medium. The writing is mostly in parts and there is a degree of rhythmic complexity3

More challenging. The harmony and textures and more complex and there is extended4

instrumental ranges

Most challenging. Harmony, texture and rhythm are more complex and require5

structured rehearsal

Benjamin Britten (1913-1976) strongly believed in thepower and worth of music for children. Throughout avaried career he created a series of works both forchildren as central performers and pieces involvingelements of child participation. Britten’s own ethos ofmusic education revolved around the notion of totalimmersion and ownership of the music of youngperformers - their involvement is not a passive one. Inthis way each of the pieces he created utilise the childperformers in a unique and involving way.

Britten was highly aware of the relative abilities ofthe performers for whom he wrote and each of theworks detailed in this guide displays differing levelsof complexity ranging from the elementary todensely complex and challenging. Each of the piecesare highly accessible and, if approached withenthusiasm and care, are rewarding musicalexperiecnes for young performers.

Whether the enseble is a small choir of very young children or a large orchestra of accomplishedyoung adults, Britten’s varied output for children contains many suitable works that can bothinspire and stimulate creativity. The legacy that Britten left behind and the fascinating story of hislife provide a rich context for each piece that enhances the rehearsal and learning process.

For string orchestra (or string quartet)

Based on material which Britten wrote between the agesof nine and twelve for the piano.

1. Boisterous Bourée2. Playful Pizzicato3. Sentimental Saraband4. Frolicsome Finale

Difficulty level: 3

Duration: 18 min

Published by Oxford University Press

At the age of twenty Britten felt the need to re-examine some of his childhood pieces. Thisresulting piece bubbles over with youthfulenergy. There are lots of big tunes and texturesthat are not too difficult to be played by a schoolorchestra.

The four movements are all of contrastingcharacter and their basis in dance means thatthey are all immediately appealing. The openingmovement begins with abrupt chords beforemoving into a lilting and suitably ‘boisterous’dance. The second movement entirely usesplucked strings which gives the piece a bubblingsound. In the final two movements a rich andlyrical dance is followed by a finale that beginswith fanfare like flourishes before embarking ona rollicking race to the finish.

This piece is a great introduction to Britten’sstyle and his youthful energy. It is suitable forable string players who would relish thechallenge of a four movement work.

Simple SymphonyOp. 4 (1934)

Friday Afternoons

Twelve children’s songs with piano accompaniment

1. Begone, dull care (anon.)2. A Tragic Story (William Makepeace Thackeray)3. Cuckoo! (Jane Taylor)4. ‘Eh-Oh!’ (anon.)5. A New Year Carol (anon.)6. I mun be married on Sunday (Nicholas Udall)7. There was a man of Newington (anon.)8. Fishing Song (Izaak Walton)9. The Useful Plough (anon.)10. Jazz-Man (Eleanor Farjeon)11. There was a monkey (anon.)12. Old Abram Brown (anon.)

op. 7 (1933-35)

Duration: 22 min

Published by Boosey & Hawkes

This set of mainly unison songs for youngvoices is a gift for a concert of music forupper voices. It is a substantial work takenas a whole but its individual movements areboth short and straightforward in theirvarious challenges. Britten wrote the workfor the boys of his brother’s preparatoryschool (age 7-13), Clive House, Prestatyn, inWales to sing.

The texts are carefully chosen to provideBritten with variety of mood. The relativesimplicity of the vocal writing iscounteracted by the piano part which attimes is challenging. However the effect ofmelodious narratives embellished withinnovative pianistic writing creates a specialsound-world that young performers andaudiences alike find thrilling.

The unison is only broken in the last songwhere Britten utilises a simple descendingmelody in a four part canon.

A must for a group of young performers witha talented pianist.

Difficulty level: 1

Soirées musicales

Suite of five movements from Rossini for orchestra

Scoring:2 fl (II=picc), 2 ob, 2 cl, 2 bn - 4 hn, 2 tpt, 3 trbn III=basstrbn) - timp, 2 perc (bd, sd, cymb, trgl, castanets, xyl, glock)- harp - str

Also for small orchestrafl, ob, cl - tpt, trbn - perc (bd, sd, cymb, trgl, castanets) -harp (or pf) - str

1. March2. Canzonetta3. Tirolese4. Bolero5. Tarantella

Op. 9 (1935-36)

Difficulty level: 4

Duration: 11 mins


Britten worked writting incidental music fordocumentary films in the 1930s. For one of thesefilms, The Tocher, (adventising the benfits of aPost Office Savings account)he assembled a scoretaken from tunes by the nineteenth centuryopera composer, Rossini. He later expanded thisinto an orchestral suite.

Available in both the full version and with asmaller orchestration this is a great work for ayoung orchestra. The music is light and tunefulbut with colours and textures that could only beBritten.

The contrasting movements give each orchestralfamily good exposure and familiar melodies byRossini are tossed about the orchestra with greatpace.

The piece is highly suitable to talentedensembles and is short enough to be combinedwith the later Matinéees musicales to create asatisfying concert experience.

Matinées musicales

Second suite of five movements from Rossini for orchestra

Scoring:2 fl (II=picc), 2 ob, 2 cl, 2 bn - 4 hn, 2 tpt, 2 trbn, bass trbn,tuba - timp, 2 perc (sd, td, bd, cymnb, wb, trgl, tamb) - harp,cel - str

1. March2. Nocturne3. Waltz4. Pantomime5. Moto perpetuo

Op. 24 (1941)

Difficulty level: 4

Duration: 13 mins


When Britten was in the USA the AmericanBallet Comany asked if he could write acompanion piece for his Soirées musicales sothat the two could be combined as a ballet.This happened in 1941 with choreography bythe famous George Balachine.

A marginally more challenging work than itspredecessor this piece still contains manyhighly melodious moments and light andwitty orchestration. The last movementspecifically contains many touches in whichBritten reworks Rossini’s melodies in his ownunique way.

Suitable for a good youth orchestra whowould enjoy the frivolity of the piece itworks as an excellent companion to the firstRossini suite.

Both suites are sure fire winners with bothaudiences and players who may be wary ofmuch of Britten’s later music.

A Ceremony of Carols

for treble voices and harp

1. Procession2. Wolcum Yole! (anon.)3. There is no rose (anon.)4. a) That yonge child (anon.)b) Balulalow (James, John and Robert Wedderburn)

5. As Dew in Aprille (anon.)6. This little Babe (Robert Southwell)7. Interlude (for harp)8. In Freezing Winter (Robert Southwell)9. Spring Carol (William Cornish)10. Deo gracias (anon.)11. Recession

op. 28 (1942-43)

Duration: 23 min


The Ceremony of Carols is one of Britten’sbest-known and most-performed works. It isa brilliantly conceived and dramatic concertwork which sees the voices process to theirplaces singing unaccompanied plainsongand, at the end, processing out again to thesame chant. These movements can also be accompanied but strictly only if the voicesdo not process. The final Alleluia can berepeated as many times as necessary to getthe singers to and from their destination.

The carols are for three-part children’s voices(though, of course they can be sung byfemale adults as well) and they form a two-part work around a central Interlude forharp which is based on the plainsong fromthe Procession. Variety is the key word hereas all the carols have such individualidentities. Lovely solos and duos add furthercolour and the harp part, an inspired choiceof accompaniment, enriches, colours and surrounds the voices with its pictorialmusical imagery. If anything shows Britten’s genius for writing for voices it mustbe this work.

Difficulty level: 3

The Young Person’s Guideto the Orchestra

Variations and fugue on a theme of Henry Purcell, for speaker and orchestra, or orchestra alone

Scoring:Picc, 2 fl, 2 ob, 2 cl, 2 bn - 4 hn, 2 tpt, 3 trbn, tuba - timp, 3perc (bd, cymb, tamb, trgl, sd, Chinese block, xyl, castanets,gong, whip) - harp - str

Op. 34 (1945)

Difficulty level: 5

Duration: 17 mins (19 mins with commentary)


This piece was originally composed for aneducational film, Instruments of the Orchestra,in which the music is used in conjunction with acommentary to explore the differentinstruments - their sounds, characters andcapabilities.

As a concert work the piece can be performedwith or without a commentary. The wondefullystrong opening gives way to a thrilling set ofvariations in which Purcell’s memorable themetravels in different guises throughout theorchestra.

Although written with the intention to teachchildren this is not a children’s piece in the usualsense. The orchestral writing is complex and attimes virtuostic. However, an excellent youthorchestra could get to grips with the score andproduce a dazzling performance. The chance toshowcase the full range of instruments makesthis piece very appealing to those who are up tothe challenge!

The Little Sweep

An entertainment for young people

Cast:Black Bob/Tom bass, Clem/Alfred ten, Sam trbl, MissBaggott contr, Juliet Brook sop, Gay Brook sop, Rowan sop,Jonny Crome trbl, Hughie Crome trbl, Tina Crome sop

Orchestra:pf (4 hands) - perc (timp, bd, sd, gong, cymb, trgl,castanets, large and small wbs) - string quartet

Text:Eric Crozier

Op. 45 (1949)

Duration: 45 mins


Originally featured as the second half of anevent called Let’s Make an Opera in whichthe a dialogue was given about rehearsing,producing and performing an opera beforethe second half featured The Little Sweep.However, the text is a little dated today sothe opera stands very well on its own.

Based on a poem by William Blake the storyfeatures a chimney-sweep and nursery inVictorian England. With a very smallorchestra made up of professionals and onlytwo adults in the cast this little opera is anexcellent opportunity to showcase talentedchild singers and actors.

Whilst some may find the text rather tweeby today’s standards, the music is highlyvaried and Britten at his mature best. Themoments for audience participation areespecially strong and give real moments offun.

For a small group of talented budding youngperfomers this is a wonderful introductionto performing on stage.

Difficulty level: 4

Noye’s Fludde

The Chester Miracle Play, set for adults’ and children’s voices, children’s chorus,chamber ensemble and children’s orchestra

Principals:The Voice of God spkr, Noye bass-bar, Mrs Noye contr, Sem,Ham, Jaffet noy trbls, Mrs Sem, Mrs Ham, Mrs Jaffett girlsops, Mrs Noye’s Gossips girl sops

Chorus of Animals and Birds:Children

Professional ensemble:trbl recorder - timp, pf (four hands), org - string quintet(2 vn, va, vc, db)

Amateur/children’s orchestra:dec rec (2 parts), trbl recs, bugles (4 parts), 12 handbells,perc (bd, td, sd, tamb, cymb, trgl, whip, gong, Chineseblocks, wind machine, sandpaper, slung mugs) str (vn in 3parts, va, vc in 2 parts, db)

Op. 59 (1958)

Difficulty level: 4

Duration: 50 mins


A retelling of the story of Noah and his arkthis was written by Britten as a communityopera. Professional singers and playersfeature alongside children who can barelysing or read music - as a result theexperience of the production andperformance is something very specialindeed.

The sound world created by a barage ofrecorders, bugles and learner violinists isvery unique and Britten finds a way to fullyintegrate this into the whole. The children’sorchestral parts are written for those whoare beginners, those with medium skill andreasonably competant players.

Much of the fun in this work is created in theprocess of putting on a serious piece oftheatre - from creating masks and costumesto telling the famous story.

It is a great opportunity for communities towork together and create a musically diverseand dramatically satisfying piece. Even theaudience has occasions to sing along.

Missa Brevis in D

For boys’ voices and organ

1. Kyrie2. Gloria3. Sanctus-Benedictus4. Agnus Dei

op. 63 (1959)

Duration: 11 min


Like the A Ceremony of Carols this work isone of Britten’s most performed and well-loved works for upper voices. It was writtenfor the boys of Westminster Cathedral withtheir distinctively bright continental tone.Many other types of upper voices have sinceadopted it, of course, and these days it is asmuch performed by women or girls, ormixed boys’ and girls’ voices as by boysalone.

The writing is exceptionally bright and freshand whilst not demanding there are stillchallenging moments. The voices sing inthree parts and there are also three sololines.

The familiar latin text is given greatdramatic treatment and a young choirwould relish the contrasting moods - fromhushed staccato to almost jazz inflectedcanons.

This is a satisfying work for a young choirthat is both refreshing and bold in its vitality.

Difficulty level: 2-3

Fancie

for unison voices and piano

Text:William Shakespeare

(1961, rev. 1965)

Duration: 1 min


Britten wrote this short and very simplesetting of Shakespeare as one of a groupwith others by Poulenc and Kodály.

He revised it four years later to include anoptional divisi into three parts and thismakes for a slightly richer version.

In its style it is very Britten - highlymelodious with an unusual and rich pianopart. It may be slight be makes for awonderful performance opportunity foryoung voices perhaps attempting partsinging for the first time.

Difficulty level: 1

Psalm 150

For two-part children’s voices and instruments

Scoring: Treble instr 1, Treble instr II, bass instr, 2 perc (timps, sd ortamb, cymb, susp cym, trng, tamb or castanets), keyboard.Optional parts, transposed if necessary, for 2 cl; tpt, hn,trbn; va

Text:Psalm 150 (sung in English)

Op. 67 (1962)

Duration: 5 mins


Written for the centenial celebrations ofBritten’s own prep school this piececombines a tuneful and simple setting ofthe famous psalm with a clattering range ofpercussion.

A great piece for young performers who canbe divided into singers and players. Thepercussion writing gives lots of opportunityto experiment with rhythm.

The main melody is lively, and perfect forsinging by a group of children. The pianisttakes the weight of responsibility forcreating the right mood to support thesingers. The idea of using a tenor soloist indialogue with the children is brilliant. Notonly does it add colour and texture but anelement of drama as well. The ending rushesmadly for the final barline!

Difficulty level: 2

The Golden Vanity

A vaudeville for boys and piano after the Old English ballad

Piano

Text:Colin Graham

op. 78 (1966)

Duration: 17 min

Published by Faber Music

This work for treble voices (it really needs tobe boys because of the subject matter) isanother gift for schools – or for thosecommunities or towns which still have boys’choirs. Its subject matter is heavilymasculine but, like a lot of Britten’s moresearingly emotional works, involves theindividual against the crowd, the powerfulagainst the underdog, the power ofimpossible love, and the ultimate weaknessof those who are supposed to be leaders.

The work divides the choir into two,representing the two ships. It also requires various soloists to sing the parts of theCaptain (alto), Bosun (treble) and Cabinboy(treble) from the first, and Pirate Captain(alto) and Pirate Bosun (treble) from thesecond. The boys should dress in costumebut mime the actions.

The piano writing is, as usual, highlyinnovative and works as an equal to thevocal parts which only separate into parts ona few occasions. This is a fun work thatworks best with little staging.


Children’s Crusade

A ballad for children’s voices and orchestra

Scoring: 6 solo perc (small gong, bd, susp cymb, large cymb, smallcymb, wb, trgl, sd, tabor, 2 glock, tamb, bells, td, xyl,scraper, gong t-t) - tutti perc (‘divided into three categorieswhich can included any number of the followinginstruments’, tuned: t bells, xyl, vibr, glock, cel; rhythmic:sd, td, tabor, bd, wb, tamb, castanets, rattle, trgl, susp,cymb; clashed or ringing: clashed cymb, trgl, gong or t-t,anvil, cowbells, slighbells - 2 pf, chamber or electronic org

Text:Bertolt Brecht (set in German)

Op. 82 (1969)

Duration: 14 mins


A rather grim story about a group oforphan’s wandering through the Polishwilderness in World War II is one of Britten’smost interesting pieces written exclusivelyfor children.

The huge array of percussion is designed tobe played by school children supplementedby a few teachers/adults. The piano andorgan parts are specifically designed tosupport the singers and to help withproviding the pitch for starts of phrases andoften with continuation as well.

In this piece young people are never beingwritten down to. Britten writes a work whichchallenges them on every level – including the nature of the story. That makesChildren’s Crusade a hugely worthwhile work to rehearse and perform. With today’semphasis on co-education the involvementof girls with boys makes the whole thing farmore achievable in every sense than it mighthave been at the time of its premiere.

A challenge yet amazingly rewarding!

Difficulty level: 5

Welcome Ode

For young people’s chorus (SAB - optional T) and orchestra.

Scoring:2 fl, 2 ob, 2 cl, 2 bn/4 hn, 2 tpt, 3 trb, tuba/timp =sd/3 perc (bd, sd, cymb, trgl, tamb, xyl)/piano/strings

Texts:1. March Thomas Dekker and John Ford2. Jig (orch)3. Roundel anon. 16004. Modulation (orch)5. Canon Henry Fielding

Op. 95 (1976)


This is a wonderfully joyful work that waswritten for the Queen’s Silver JubileeCelebrations in Ipswich in 1977. As Britten wasvery ill he asked his assistant, Colin Matthews, toorchestrate it for him. Sadly Britten died beforethe premiere and it was his final completedcomposition.

The piece is very much in the celebratory vein ofseveral other Britten pieces but he keeps thestyle light and simple for young peoples’ voices.There is only a short optional tenor section as heknew how this voice type is seldom wellestablished in young people.

The three choral sections are all contrasting;from the rousing opening, through the lullaby-like ‘Roundel’ and finishing off with a boisterouscanon. The orchestraion is suitable for a youthorchestra with some more challenging bits forsolo string players.

Whilst this is a short and ‘occasional’ piece itshowcases young voices and is great fun!

Duration: 9 min


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Britten for children